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Circle(s) of Life: Capoeira as Co-cultural Communication Theory and Practice
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Circle(s) of life: Capoeira as co-cultural communication theory and practice
Summary
This case study explores capoeira–the dynamic dance-fight-game of Afro-Brazilian
origins–as conflict but also connection, as dialogue but also dissonance, as play that exposes power. This in an effort to show how, by applying an intercultural communication analysis to capoeira, we may understand a little more about culture, about communication, about the possibilities of a more mutual and collaborative practice of conflict, and, ultimately, about the creativity of the human spirit across all cultures.
Charged with constructing a case study of intercultural communication in which there is a
conflict or misunderstanding, I propose that, through its origins, capoeira by its very nature represents conflict. From an intercultural communication perspective, it is interesting that in the present we see that a distinctly Brazilian activity with African roots that within Brazil was socially derided and even illegal for much of its existence is now practiced–widely and passionately–in every corner of the world. Why did “[a] once-underground movement of the oppressed spread to become widely accepted” (Essien, 2008, p. xv) and practiced and embraced?
I turn to co-cultural communication theory for answers, through which capoeira can be
conceptualized in its entirety as strategies of a non-dominant group to communicate within a dominant cultural reality. What becomes relevant, then, is what exploration of the perspective of communication experiences of non-dominant groups brings to our understanding of communication and culture. Also relevant are aspects of the past-present dialectic that plays out within the practice–and popularity–of capoeira today.
Ultimately, I suggest two implications. One, that by studying capoeira as culture,
communication, and conflict and by applying an understanding of co-cultural communication theory, we can identify an intercultural communication need that exists for many. Two, that although the consequences of co-cultural group members communicating with dominant cultural groups can be conceptualized to fall on the dark side of human communication experiences, there also exists a bright side, one that our encounter with capoeira has helped to illuminate.
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| | Authors: MacLennan, Janet. |
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Circle(s) of life: Capoeira as co-cultural communication theory and practice
Summary
This case study explores capoeira–the dynamic dance-fight-game of Afro-Brazilian
origins–as conflict but also connection, as dialogue but also dissonance, as play that exposes
power. This in an effort to show how, by applying an intercultural communication analysis to
capoeira, we may understand a little more about culture, about communication, about the
possibilities of a more mutual and collaborative practice of conflict, and, ultimately, about the
creativity of the human spirit across all cultures.
Charged with constructing a case study of intercultural communication in which there is a
conflict or misunderstanding, I propose that, through its origins, capoeira by its very nature
represents conflict. From an intercultural communication perspective, it is interesting that in the
present we see that a distinctly Brazilian activity with African roots that within Brazil was
socially derided and even illegal for much of its existence is now practiced–widely and
passionately–in every corner of the world. Why did “[a] once-underground movement of the
oppressed spread to become widely accepted” (Essien, 2008, p. xv) and practiced and embraced?
I turn to co-cultural communication theory for answers, through which capoeira can be
conceptualized in its entirety as strategies of a non-dominant group to communicate within a
dominant cultural reality. What becomes relevant, then, is what exploration of the perspective of
communication experiences of non-dominant groups brings to our understanding of
communication and culture. Also relevant are aspects of the past-present dialectic that plays out
within the practice–and popularity–of capoeira today.
Ultimately, I suggest two implications. One, that by studying capoeira as culture,
communication, and conflict and by applying an understanding of co-cultural communication
theory, we can identify an intercultural communication need that exists for many. Two, that
although the consequences of co-cultural group members communicating with dominant cultural
groups can be conceptualized to fall on the dark side of human communication experiences,
there also exists a bright side, one that our encounter with capoeira has helped to illuminate.
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